Writing by Young

ONLINE 

“Hugh Le Caine: compositions and instruments demonstrations” writer and producer of web page.  Hugh Le Caine

“Microtonality” Routledge Encyclopedia of Modernism. 2016.

 “Hugh Le Caine” Routledge Encyclopedia of Modernism. 2016.

BOOKS 

The Sackbut Blues: Hugh Le Caine, Pioneer of Electronic Music, 1989. National Museum of Science and Technology, Ottawa. 274 p. ISBN 0-66-12006-2

Blues Pour Saqueboute: Hugh Le Caine, pioneer de la musique electronique. 1989. Musée National des Sciences et de la Technologie, Ottawa.

CHAPTERS OF BOOKS

 “Emphasizing the Aural: Deep Listening as Engagement with Acoustic Space,” in Anthology of Essays on Deep Listening. Monique Buzzarté, Tom Bickley, eds. Deep Listening Publications. 2012.

 “Sounds of Invention: Newfoundland Sound Symposium Sound Sculpture Exhibition” in Le Son dans l’art contemporaine Canadien / Sound in Contemporary Canadian Art. Nicoole Gingras, ed. Éditions Artextes. Montreal. 2003. 240 p.
ISBN  2980287091

“Soundshapes: Public Engagement with Sound” in Sonic Geography Imagined and Remembered.  Ellen Waterman, ed. Penumbra Press with Leslie Frost Centre. pp 118-29. Trent University, Peterborough. 2002. 

ARTICLES

 “Water In Time” in Art +Reading No. 2, theme issue on deep time in the arts, 2020.

“Pattern Recognition in Acoustic Space” in Proceedings of Conference on Deep Listening, Rensselaer Polytechnic Institute, New York, 2013.

“Sackbuts and Spectrograms: Hugh Le Caine’s Pioneering Work Changed the Face of Electronic Music” in Electronic Musician, pp 96-109, July 2001

“Harmony in the Soundscape” in Proceedings of The Tuning of the World: the first Conference on World Soundscape and Acoustic Ecology, The Banff Centre, Alberta, 1993.

“Pitch Probe: Musical Instruments for Unusual Tuning Systems” in Contemporary Music Review Vol. 7, No. 1:, pp 51-64; 1992.

“The Pitch Organization of Harmonium for James Tenney” Perspectives of New Music, Vol.. 26, No. 2, 1988.

“Hugh Le Caine’s 1948 Sackbut Synthesizer: Performance Modes in Electronic Instruments,” Proceedings of the International Computer Music Conference, IRCAM, Paris, 1984.

‘Unraveling the Mysteries of Expressive Sound, Canada’s Pioneer in Electronic Music: Hugh Le Caine” and “The Electronic Sackbut: Hugh Le Caine’s Expressive Keyboard from 1948” in Keyboard Magazine, Cupertino, California, Vol. II, No. 2. 1985.

The Hugh Le Caine Project Newsletter, issues 1-10, June, 1979 to April, 1984. ISSN # 1229-6659. 

 “New Instruments for A New Music” paper presented at the conference for the American Association for the Advancement of Science, 1984.

“Gayle Young Interviews James Tenney”, Musicworks No. 4, June, 1978. 

Writing About Young

Analysis of Ice Creek by Gayle Young + by Valentina Bertolani, published in Between the Tracks, MIT press (2020)  Ice Creek, MIT Press

Pioneering Canadian Women in Electronic Music, by Robyn Fadden, Red Bull Music Academy (2016) Red Bull Music Academy

Thinking with Art: From Situated Knowledge to Experiential Knowing, Ian Sutherland and Sophia Krzys Acord, published in The Journal of Visual Art Practice 6, no. 2: 125-140 (2007) Thinking with Art

Press Comment

In Motion is remarkable for both the delicacy of the sounds produced and for its rhythmic complexity... This is an impressive disc that reveals Gayle Young as a composer of both imagination and ability. 

—Barry Edwards,  Music Magazine

In Motion uses two pre-recorded Columbines and one played live.  The pre-recorded Columbines both play the same slow melody at very slightly different tempos.  The live one responds to the interaction of the other two.  A lovely piece; Young’s chosen tuning is very warm and comes through unhindered here. 

—Bart Hopkin, Experimental Musical Instruments 
When the Columbine was playing a duet with itself using pre-recorded tape, the sound was very plummy indeed, filling the room with a slightly fuzzy but comfortable resonance.

—Lauretta Thistle,  The Ottawa Citizen

 Study in ‘eleven over nine’ (1986) for Amaranth is a fascinating work by this important Canadian composer, instrument builder, author and editor of Musicworks Magazine” 

—“Blue” Gene Tyranny, All Music Guide

Gayle Young’s Amaranth is a koto-like bowed or plucked zither with multiple moveable mid-string bridges...  (‘Study in eleven over nine’  centers on the interval 11/9 which is a “neutral third”  (347 cents; midway between a major and minor third in 12-equal temperament), and has further implications for Young in that it is almost exactly half of  a perfect fifth.

—Bart Hopkin, Experimental Music Instruments 

Neptis Cantrix:  Bowed, the Amaranth sounded very mysterious with deep, raspy pedal tones set off by high chalk-board squeaky harmonics… The Columbine was bowed along the ends of the tubes for a very penetrating ring indeed... The evening was a very worthwhile glimpse at a unique musical aesthetic.

—Hugh Fraser, The Hamilton Spectator

Usque ad Mare Young, an inventor of instruments as well as music, has created a limpid short electronic work... The material, flute-like in the beginning, swells, thickens, blurs, with many changes of timbre, only to return to the opening simple texture.

—Ronald Hambleton, The Toronto Star

In Canadian composer Gayle Young’s Avalon Shorelines the cello provides an improvised counterpoint to the lap and crash of ocean waves in Newfoundland.

—Julian Cowley, The Wire

Interviews

Strings: Hands On, Original Instruments with Gayle Young,  Canadian League of Composers, March 25, 2019, + instrument demonstration for composers Strings: Hands On, Facebook

Interview with David Schotzko, artistic director of Array + tuned resonators, text-based pieces David Schotzko, Vimeo

Generations/Conversations: Gayle Young, Sin interviews with Camille Kiku Belair Belaire, Part 1

Additional Sources on LeCaine

Rebuilding Le Caine's 1946 Sackbut

Introduction to Le Caine’s 1946 Sackbut

Sackbut Blues Book Review, Tom Rhea, Computer Music Journal Vol 19, No. 4. (1989) Sackbut Blues Book Review, Rhea

Sackbut Blues Book Review, Lowell Cross (1989) Sackbut Blues Book Review, Cross